28 i mig

There is a sensation of needing air that leads you to think about a new spectacle, a feeling of opening windows to gaze at the horizon that is drawn in the background. And then you taste the doubt that comes to you as you think: is this what I see real? Is it imagined? Perhaps it's painted? This is the question. This is the great magic...

Often, when we open the windows of our small theater, we find the painted skies of Fellini, the clouds of Orson Welles or John Ford, the unanswered questions of Pasolini, the play of Marcello Mastroniani's eyes, or the extravagant bodies of so many actors and characters... When we talk about the magic of cinema or the magic of theater, we talk about the magic of life. In reality, when we open the windows, what we most like to see is something that brings to mind the verses of Verlaine "La vie est là simple et tranquille": a clear summer morning or a pleasant sky at sunset over the calm sea. And from here, we will do our best to convey it to the audience, through our language of theater.

This is our work and our craft. To look at the stars, to fall in love with them, and then to try to evoke them within our particular space of magic. It's not easy nowadays, but the stars are still where they've always been, and perhaps they watch us and laugh at our attempt to reconcile ideas and people, bringing them together again. 28 i mig is a sack full of poems and images, a different game, an invented gaze, a new fire, which we found necessary.

We wanted to create a spectacle that in some way signifies a turning point in our trajectory and that at the same time allows us to revisit all our references. In this kind of collective psychoanalysis between ourselves and our audience, we pay homage to the world of fiction, of theater, of cinema, and of art in general, and we do it through the fascination for Italy and the always clear gaze of Federico Fellini.

Starting from this, we have articulated a spectacle weaving together images, words, diverse situations, and authors. Seeking their connections and erasing their borders. Tying them and retying them in a whirlwind of fantasies that accelerate in an exciting spiral, like Fellini's films, where the inherent doubts of artistic creation, personal and vital crisis, the search for happiness through art, childhood as the engine of the past, or the necessary acceptance of death are projected.

28 i mig aims to be a look at life, at art looking at life, and at the doubts of both, mixing forms and contents persistently. A spectacle that wants to be a celebration for the comedians and, we hope, for the audience.

Oriol Broggi